Jaume Collet-Serra He has carved out a more than interesting career in American cinema, an industry in which he has been established for two decades. Thinking about your career leads to terror (The house of wax, The orphan), to his very effective story with Blake Lively in danger from a shark (blue hell) or to his four collaborations with Liam Neeson (Without identity, Non-Stop, One night to survive y The passenger). Al thriller is precisely assigned hand luggagea film that has been well received on Netflix.
The film develops the classic situation of the character who must comply with the guidelines set for him from a distance if he does not want to suffer the consequences. The problem is in the implications of what they demand of you. A Los Angeles airport security agent has to let a suitcase through baggage control that he will bring death and tragedy under the threat that if he doesn't, his pregnant girlfriend will be killed. The story also takes place in the christmas contextbusy in the aforementioned scenario.
hand luggage (Carry-On in the original title) stars Taron Egerton (the first two installments of Kingsman, Rocketman), accompanied by Sofia Carson and for a striking Jason Bateman as villain. Among the supporting cast are Danielle Deadwyler, at the helm of the next work by the Spanish director, Logan Marshall-Green (Upgrade) and Dean Norris, the legendary brother-in-law of Walter White in Breaking Bad.
Review of 'Hand Luggage'
The word 'office' is the first that comes up when thinking about Jaume's cinema Collet-Serra. A quality that materializes again in the channel of thriller and action in hand luggage. The director's hand Without identity, Non-Stop, One night to survive y The passenger can be seen in a movie suggestive eye-catching and skillful and inspired for entertaining.
He attractiveness of the situation of the character being watched and blackmailed is enhanced by the double factor of the call and remote instructions (which initially activates the echoes of 'enjoyable' titles like Last call y Cellular), for its transfer to the framework of controls at airports and for the evil of coincidences. Kopek was not initially going to be at the baggage checkpoint chosen to pass the suitcase with the red ribbon, but just that day, motivated by his upcoming fatherhood, he decided to ask for more work responsibilities.
hand luggagewith which Collet-Serra develops his own Christmas action film (the environmental component suits the story well), builds on the tension that flows in conversations via headphones between the security agent used (role with which Taron Egerton confirms his suitability for the genre) and the villain, a striking Jason Bateman who channels what he learned in the dark side of Ozark.
The dynamic is accompanied by the success that the protagonist and the antagonist also see each other face to face (the moment next to the seats, the moment in the bathroom) in the middle of the process and before the resolution in which they will logically confront each other.
The work provides an interesting evolution once the contents of the suitcase are revealed and it passes the controlso that it is not exhausted after the complete materialization of the premise. Despite the greater dedication after the implausibilities, the attractiveness endures between the complications, the twists and the protagonist's attempts to reverse the circumstances and thwart the threat.
Collet-Serra lets loose in the car fight scene to the rhythm of Last Christmasthe great theme of Wham!, seductive for its intrinsic humor and action despite the digital aspect being perceived in the rendering. The passages behind the scenes (between the conveyor belts), Egerton's races and his way of boarding the plane in danger link with the aforementioned showy character.
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